XIII) refers to the same point, contrasting the Romans with the Greeks who honored their actors.
[42] See "The Evolution of Modesty" in the first volume of these _Studies_, where this question of the relationship of nakedness to modesty is fully discussed.
[43] C.H.Stratz, _Die Koerperformen in Kunst und Leben der Japaner_, Second edition, Ch.

III; id., _Frauenkleidung_, Third edition, pp.

22, 30.
[44] I have not considered it in place here to emphasize the aesthetic influence of familiarity with nakedness.

The most aesthetic nations (notably the Greeks and the Japanese) have been those that preserved a certain degree of familiarity with the naked body.

"In all arts," Maeterlinck remarks, "civilized peoples have approached or departed from pure beauty according as they approached or departed from the habit of nakedness." Ungewitter insists on the advantage to the artist of being able to study the naked body in movement, and it may be worth mentioning that Fidus (Hugo Hoeppener), the German artist of to-day who has exerted great influence by his fresh, powerful and yet reverent delineation of the naked human form in all its varying aspects, attributes his inspiration and vision to the fact that, as a pupil of Diefenbach, he was accustomed with his companions to work naked in the solitudes outside Munich which they frequented (F.Enzensberger, "Fidus," _Deutsche Kultur_, Aug., 1906)..